Full-text resources of CEJSH and other databases are now available in the new Library of Science.
Visit https://bibliotekanauki.pl

Results found: 6

first rewind previous Page / 1 next fast forward last

Search results

Search:
in the keywords:  detective fiction
help Sort By:

help Limit search:
first rewind previous Page / 1 next fast forward last
1
Publication available in full text mode
Content available

John Dickson Carr’s Early Detective Novels and the Gothic Convention.

100%
Kokot J.
Lublin Studies in Modern Languages and Literature
|
2019
|
vol. 43
|
issue 2
DE
Der Artikel enthält Zusammenfassungen nur in Englisch.
EN
Even if the Gothic romance may be considered as one of the predecessors of detective fiction, the world model proposed by the latter seems to exclude what was the essence of the former: the irrational underlying the proposed world model. However, some of detective novel writers deploy Gothic conventions in their texts, thus questioning the rational order of the reality presented there. Such a genological syncretism is typical - among others - of the novels by John Dickson Carr. The paper is an analysis of Gothic conventions and their functions in four earliest novels by Carr, featuring a French detective-protagonist, Henri Bencolin. It concentrates on elements of Gothic horror, on the atmosphere of terror as well as the motif of the past intruding the present.
FR
L'article contient uniquement les résumés en anglais.
2
Publication available in full text mode
Content available

Muriel Spark’s Employment of Burlesque: Parody of Detective Fiction in Not to Disturb

88%
Ertin S.
Lublin Studies in Modern Languages and Literature
|
2017
|
vol. 41
|
issue 1
DE
Der Band enthält die Abstracts ausschließlich in englischer Sprache.
EN
Parody contributes to the improvement of literary genres since it is the key to various popular subgenres as in the case of the development of detective fiction. Muriel Spark’s Not to Disturb, among the contemporary examples of parody of detective stories, is about a group of sinister servants in a Swiss chateu awaiting impatiently the bloody deaths of their employers, dictating memoirs and even selling the fim rights beforehand. Analysed in terms of its plot structure, characterisation and setting, the novel proves to be a brilliant example of parody of detective stories.
FR
Le numéro contient uniquement les résumés en anglais.
RU
Том не содержит аннотаций на английском языке.
3
Publication available in full text mode
Content available

Testy rzeczywistości. Narracje o zbrodniach w powieściach Jane Austen

88%
Karlińska A.
Przegląd Humanistyczny
|
2019
|
vol. 63(2 (465))
47-61
PL
The aim of the article is the consideration of the way in which Jane Austen asks in her novels about the status of reality. The subject of the interest are the narrations about “crime” understood as the events breaching the normal social experience and revealing how fragile the reality is. The significant context of the consideration is the classical detective literature. The author proves that the work of Jane Austen can be characterized by the similar reflection on societies in which the project of social reality is entangled. Referring to the conception of Luc Boltanski, she shows that, in the novels of the British writer, crime is a form of “reality testing”. Austen casts in doubt the frames of reality and reveals the conventional dimension of the social life. Her purpose, however, is not to disclose the social world – she sees the possibility of its integration.
4
Publication available in full text mode
Content available

Hercule Poirot and the Tricky Performers of Stereotypes in Agatha Christie’s Murder on the Orient Express

75%
Eckert K.
Text Matters: A Journal of Literature, Theory and Culture
|
2021
|
issue 11
186-203
EN
Agatha Christie’s Murder on the Orient Express (1934) remains well-read, and its hero Hercule Poirot continues to enjoy popular currency. Yet the text has not aged well due to some of its now clichéd plot developments and dialogue, as well as Christie’s depiction of class, ethnic and national prejudices in it and her other novels. This study hopes to re-energize discussion on Murder by finding defensible reasons for its apparent flaws. Not only do the stereotypical behaviors of the passengers narratively distract Poirot and the reader from a solution, but their flaws serve as foils against which Poirot’s heroic gravitas and cultural values are positively contrasted. Further, criticism often misses the point that the passengers are performing their behaviors, and if so, the deployment of stereotypes as only acted performances destabilizes them as permanent aspects of national or ethnic identity. Can Murder then be read as an anti-racist text?
5

Suspense, Surprise and Information Supply in Polish Translations of Detective Fiction

63%
Looby R.
Roczniki Humanistyczne
|
2014
|
vol. 62
|
issue 5: Neofilologia
215-228
EN
If the key to suspense and surprise is the careful dealing out and withholding of knowledge, how do translators and their readers deal with the tendency for translations to clarify texts? Sometimes this clarification is forced on translators by the nature of the target language. Polish, for example, must specify the gender of the subject in past tense singular constructions. The English author may not have wanted this information to be made clear. How do translators prevent their language and customs from forcing them to reveal too much? This article studies the problem of information supply in Polish translations of Dashiell Hammett, Raymond Chandler and Ross MacDonald. It finds that in fact translators’ preconceived notions about the detective fiction are more likely to give the game away.
PL
Jeśli kluczem do zbudowania napięcia i uzyskania efektu zaskoczenia jest staranne dozowanie izatajanie informacji, w jaki sposób tłumacze i ich czytelnicy podchodzą do tego, iż tłumaczenia wykazują tendencję do wyjaśniania tekstów? Czasami ujednoznacznienie może być wymuszone na tłumaczu charakterem języka docelowego. W języku polskim, na przykład, użycie czasu przeszłego wliczbie pojedynczej wymusza określenie rodzaju gramatycznego podmiotu. Autor tekstu anglojęzycznego mógł nie chcieć podać takiej informacji. W jaki sposób tłumacze nie pozwalają, aby ich własny język i nawyki zmusiły ich do powiedzenia za dużo? Niniejszy artykuł poddaje analizie problem dozowania informacji w polskich tłumaczeniach Dashiella Hammetta, Raymonda Chandlera oraz Rossa MacDonalda i pokazuje, że w rzeczywistości przyjęte z góry przez tłumacza założenia dotyczące powieści detektywistycznej mogą w znacznym stopniu przyczynić się do zdradzenia zbyt wiele.
6
Publication available in full text mode
Content available

Conan Edogawa – detektyw z komiksów Gōshō Aoyamy jako superbohater

51%
Chudoba M.
Białostockie Studia Literaturoznawcze
|
2020
|
issue 17
245-263
EN
The aim of this paper is a character analysis of Conan Edogawa – the protagonist of Meitantei Conan by Gōshō Aoyama ­– as a variation of the superhero. The research material includes manga, animated series adaptation and related cinematic films. The broadly understood criminal novel (mostly the Sherlock Holmes cycle by Arthur Conan Doyle) was the source of inspiration for the Japanese artist. The analysis of the collected material demonstrates that the described franchise used a transmedia narration. Both Aoyama and the authors of animated adaptations use transfictionality in their works. With the combined usage of the criminal and superhero elements, the Japanese artist created an omnipotent and omniscient superhero detective who can solve any mystery.
PL
Celem niniejszego artykułu jest analiza postaci Conana Edogawy, protagonisty komiksowego cyklu Meitantei Conan autorstwa Gōshō Aoyamy jako wariacji na temat superbohatera. Materiał badawczy, oprócz mangi, stanowią serial animowany będący jej adaptacją oraz powiązane z nim filmy kinowe. Źródło inspiracji dla japońskiego artysty stanowi szeroko pojęta literatura kryminalna, a zwłaszcza opowiadania o Sherlocku Holmesie autorstwa Artura Conana Doyle’a. Analiza zebranego materiału wykazała, że opisywana franczyza ma charakter narracji transmedialnej. Ponadto Aoyama, jak również twórcy animowanych adaptacji komiksu Meitantei Conan, posługuje się transfikcjonalnością. Japoński artysta dzięki połączeniu elementów kryminalnych z superbohaterskimi oraz częściowemu ich sparodiowaniu, stworzył postać „omnipotentnego”, wszechwiedzącego detektywa-superherosa, który jest w stanie rozwiązać każdą zagadkę.
first rewind previous Page / 1 next fast forward last
JavaScript is turned off in your web browser. Turn it on to take full advantage of this site, then refresh the page.